With successes like C.I.D, Bombai Ka Babu and Ek Musafir Ek Hasina to his credit, Raj Khosla had certainly achieved a name for himself in the thriller genre. His best would really be seen in the mid-60s though, through his famous 'Mystery Girl' trilogy starring Sadhana. In between the very popular classic Woh Kaun Thi and in my opinion, an average Anita, came possibly the best of this trilogy - Mera Saaya, in the year 1966. A Hitchcockian thriller right from start to finish, this is a movie even Hitchcock would have been proud of.
Not giving much of the story away, the film opens with a room in a big mansion (Lake Palace maybe, but not sure) in Udaipur where Geeta (Sadhana) is lying extremely sick in the company of her husband's mausi and servants and the doctor asks to immediately call her husband, a lawyer, who is abroad, as she may not have long to live. Thakur Rakesh Singh (Sunil Dutt) flies back only to find his wife dead. The opening credits begin and post that, we see a very depressed Rakesh, not able to get over the loss of his beloved wife. A police inspector comes to meet Rakesh to inform him that three dacoits were caught the previous day; one of them being a female, a look-alike of his late wife ... and claiming to be the Thakur's wife! What follows is an immensely gripping courtroom drama - is this dacoit indeed the wife of Thakur Rakesh Singh or not? Rakesh on one hand fighting for his cause saying this woman cannot be his wife as he saw his wife die in front of him and the dacoit Raina, on the other, claiming to be Rakesh's wife and fighting for it!
An unusual tale, this one has all the makings of a great thriller. Raj Khosla is excellent in carrying the story forward at a good pace, especially because a lot of the suspense revolved around events in the couple's life, so there had to be a balance of showing some scenes of the past (mostly cute and realistic romantic scenes), give a stronger hold of the characters to the audience and also, on the other hand, not spend so much time on the past that would make the audiences lose their edge-of-the-seat thrill. The screenplay is indeed clever, showing only that much of the past that would be required for the audience to know when the two individuals fight out their case in the courtroom.
Raj Khosla's direction definitely shines throughout the movie, one example being when Rakesh thinks of something that will help him win the case (almost towards the end of the movie) while at his house, and the camera focuses on his confident, focussed, thinking face and slowly moves to his reflection on three adjacent mirrors separately (at his dressing table) to serve as a bookmark to go into a flashback scene, only to later come out of the flashback in the reverse manner.
The characters are also well-written. You see the policeman (Anwar Hussain) and a lawyer (K.N.Singh) often discussing about the case amongst themselves; but if you really think about it, they actually play you and me. By that I mean that their dialogues are actually the things your mind keeps thinking, while at once agreeing with the dacoit's version of the story, and at the same time, questioning her and siding with Rakesh. This movie keeps you guessing, and even if it doesn't, the two characters in constant discussion definitely will.
One extraordinary piece of work from Raj Khosla was with regards the use of sound in this movie. Rakesh is seen listening to his late wife's music records, this one being the Nainon Mein Bhadra song, and the sound actually sounds like it is coming from the record, and when Rakesh gets completely engrossed in the song and thinks of his past, the sound changes to how it would be heard real-time, when his wife was actually singing it to him. Another excellent usage of sound was when he turns on the radio and the song Wo Bhooli Dastaan starts, and that leads him to remembering Geeta singing Tu Jahaan Jahaan Chalega, and finally when that song ends, reality dawns in and he realizes it's only the radio playing a song. I remember telling my mother while watching the movie recently for the umpteenth time that the sound recording in this film is just marvellous and guess what ... upon checking later, Manohar Amberkar indeed won a Filmfare for Best Sound Recording!
The actors in this movie are in top form. There are not too many characters in this story and the film is basically carried on the shoulders of Sunil Dutt and Sadhana. Sunil Dutt is fantastic as the disturbed husband, while mourning over the loss of his wife on one hand, fighting with an imposter on the other. Sadhana is brilliant in the court scenes and really makes one feel for her. The two together make a wonderful couple in the flashback sequences; their romanctic act is sweet, mischevious and not at all over-the-top, one that will keep you smiling throughout.
About 46 years after the film was released, the music is still as popular as it was back then. While songs like the title track - Tu Jahaan Jahaan Chalega, and Nainon Mein Bhadra are haunting, Jhumka Gira Re is a perfect example of naughty and folk. Similarly, Aap Ke Pehloo Mein Aakar is aptly tragic whereas Nainonwali Ne is again a very naughty and flirtatious number. A special mention should go to the title track because it is used so many times in the movie, but never would one feel bored or frustrated when the full song would repeat over and over again. While it coming as a background score is a different matter, the song is actually picturised twice in the movie. No music director can get away with a less than perfect song in such a situation. The songs are used well in the movie and Madan Mohan again struck gold with his music in this movie.
All in all, a perfect entertainer and one which the whole family can sit together to see, Mera Saaya is thrilling, brilliant and unique. Its movies like these that make you wonder what ever happened to the good old era of suspense movies! Mera Saaya never ceases to amaze even after repeated viewings.
While I really should not be rating this movie simply because I am too small a person to rate or critic a film of this level and one which is like a textbook to a film student, if I really had to, I would give the movie 4.5 stars out of 5. Now where I cut the 0.5 star rating I cannot answer here. I would be more than happy to discuss it with you once you have seen the movie :)
Wednesday, February 15, 2012
Monday, June 6, 2011
Amazing lyrics - Woh Shaam Kuch Ajeeb Thi
It's been a long time since I last wrote a post on this blog. In order to make myself more regular, I've decided to start a new series called 'A Song A Week' which I will hopefully be able to contribute to, every week. This is going to be something besides my other articles, which I will continue to write when I get the time.
The series is not going to be much of a bother to the readers, who will only witness a brief description of the song and the full lyrics, unlike the long articles I usually end up writing no matter how hard I try not to.
Ok, so I'm going to start with a song of a movie I just saw for the first time. The song is Woh Shaam Kuch Ajeeb Thi from the brilliant directorial venture by Asit Sen, the film Khamoshi (1969).
I really don't know how to not reveal much of the story, but here's the background (without giving away any major spoilers). Arun (Rajesh Khanna in one of his earliest and finest roles) is admitted in a mental asylum as he suffers from acute mania. He was a writer and an artist by profession and was in love with Sulekha (Snehlata). Despite all his love for her, Sulekha dumps him after becoming a major singing sensation after singing a song which Arun had himself written; which causes major paranoia within Arun, who cannot even look at another woman without thinking that she is involved in some conspiracy in partnership with Sulekha against him. In the asylum, nurse Radha (played by Waheeda Rehman in what is one of her best and most underrated performances) takes charge of his treatment and begins to instill the feelings of trust within Arun. As Arun becomes normal again, he falls in love with Radha, mostly due to a misunderstanding.
This song happens when Radha takes Arun out for a day during his treatment, by which time Arun has already fallen for her. He thinks his love is being returned ... unfortunately we, the audience know she's in love with Dev (Dharmendra), which is what makes this song an even bigger tragedy.
A beautiful tune from Hemant Kumar with brilliant, well thought-out lyrics from Gulzar, and marvellously sung by Kishore Kumar; this one is an all-time classic.
You can watch the song online to get a better feel, or preferably, watch the movie to truly appreciate this song.
Woh shaam kuch ajeeb thi, ye shaam bhi ajeeb hai,
Woh kal bhi paas paas thi, woh aaj bhi kareeb hai.
Woh shaam kuch ajeeb thi, ye shaam bhi ajeeb hai,
Woh kal bhi paas paas thi, woh aaj bhi kareeb hai,
Woh shaam kuch ajeeb thi ...
Jhuki hui nigaahon mein, kahin mera khayaal tha,
Dabi dabi hansi mein ek, haseen sa gulaal tha,
Main sochta tha mera naam gunguna rahi hai woh - 2
Na jaane kyun laga mujhe, ki muskura rahi hai woh.
Woh shaam kuch ajeeb thi ...
Mera khayaal hai abhi, jhuki hui nigaah mein,
Khili hui hansi bhi hai, dabi hui si chaah mein,
Main jaanta hoon mera naam gunguna rahi hai woh - 2
Yahi khayaal hai mujhe, ki saath aa rahi hai woh.
Woh shaam kuch ajeeb thi, ye shaam bhi ajeeb hai,
Woh kal bhi paas paas thi, woh aaj bhi kareeb hai,
Woh shaam kuch ajeeb thi.
If you observe the song, he sings of an evening with his ex, Sulekha, and compares it to an evening with Radha. Each corresponding line in the two antaras of the song is very much alike the other, only with slight variations. I also like the way he says, the earlier time I always THOUGHT she was thinking of me (implied by his name constantly being in her mind), but this time I KNOW she is thinking of me always (which is again not the case ... poor Arun is so mistaken)! Arun honestly thinks there's love between the two, even though it hasn't been said, which is evident in the lines dabi hui si chaah mein.
There's something about a romantic song becoming more beautiful because of the hidden tragedy underlying it.
The series is not going to be much of a bother to the readers, who will only witness a brief description of the song and the full lyrics, unlike the long articles I usually end up writing no matter how hard I try not to.
Ok, so I'm going to start with a song of a movie I just saw for the first time. The song is Woh Shaam Kuch Ajeeb Thi from the brilliant directorial venture by Asit Sen, the film Khamoshi (1969).
I really don't know how to not reveal much of the story, but here's the background (without giving away any major spoilers). Arun (Rajesh Khanna in one of his earliest and finest roles) is admitted in a mental asylum as he suffers from acute mania. He was a writer and an artist by profession and was in love with Sulekha (Snehlata). Despite all his love for her, Sulekha dumps him after becoming a major singing sensation after singing a song which Arun had himself written; which causes major paranoia within Arun, who cannot even look at another woman without thinking that she is involved in some conspiracy in partnership with Sulekha against him. In the asylum, nurse Radha (played by Waheeda Rehman in what is one of her best and most underrated performances) takes charge of his treatment and begins to instill the feelings of trust within Arun. As Arun becomes normal again, he falls in love with Radha, mostly due to a misunderstanding.
This song happens when Radha takes Arun out for a day during his treatment, by which time Arun has already fallen for her. He thinks his love is being returned ... unfortunately we, the audience know she's in love with Dev (Dharmendra), which is what makes this song an even bigger tragedy.
A beautiful tune from Hemant Kumar with brilliant, well thought-out lyrics from Gulzar, and marvellously sung by Kishore Kumar; this one is an all-time classic.
You can watch the song online to get a better feel, or preferably, watch the movie to truly appreciate this song.
Woh shaam kuch ajeeb thi, ye shaam bhi ajeeb hai,
Woh kal bhi paas paas thi, woh aaj bhi kareeb hai.
Woh shaam kuch ajeeb thi, ye shaam bhi ajeeb hai,
Woh kal bhi paas paas thi, woh aaj bhi kareeb hai,
Woh shaam kuch ajeeb thi ...
Jhuki hui nigaahon mein, kahin mera khayaal tha,
Dabi dabi hansi mein ek, haseen sa gulaal tha,
Main sochta tha mera naam gunguna rahi hai woh - 2
Na jaane kyun laga mujhe, ki muskura rahi hai woh.
Woh shaam kuch ajeeb thi ...
Mera khayaal hai abhi, jhuki hui nigaah mein,
Khili hui hansi bhi hai, dabi hui si chaah mein,
Main jaanta hoon mera naam gunguna rahi hai woh - 2
Yahi khayaal hai mujhe, ki saath aa rahi hai woh.
Woh shaam kuch ajeeb thi, ye shaam bhi ajeeb hai,
Woh kal bhi paas paas thi, woh aaj bhi kareeb hai,
Woh shaam kuch ajeeb thi.
If you observe the song, he sings of an evening with his ex, Sulekha, and compares it to an evening with Radha. Each corresponding line in the two antaras of the song is very much alike the other, only with slight variations. I also like the way he says, the earlier time I always THOUGHT she was thinking of me (implied by his name constantly being in her mind), but this time I KNOW she is thinking of me always (which is again not the case ... poor Arun is so mistaken)! Arun honestly thinks there's love between the two, even though it hasn't been said, which is evident in the lines dabi hui si chaah mein.
There's something about a romantic song becoming more beautiful because of the hidden tragedy underlying it.
Wednesday, January 12, 2011
Remembering a legendary duo: Kalyanji-Anandji (Part I of II)
The days of Christmas and New Year's is pretty dull in IT companies if you're working; in fact only sitting at your desk for a couple of hours can get pretty frustrating, so I thought why not write an article - it has been quite a while as well. Having said that, I must add that this post has been on my mind for some time. There's no way one can choose to write a tribute to Kalyanji-Anandji out of just sheer joblessness!
There are some people in the film industry (everywhere you consider, but more so in Bollywood) who basically do everything right, hit the right notes with every project, stay out of controversies, give in some terrific contribution towards cinema and the country, have their work being admired by almost everyone and yet do not get the kind of credit they rightfully deserve. The musical duo of Kalyanji Veerji Shah and Anandji Veerji Shah is one of them. In my mind, they are probably among the greatest music directors of all-time; yet it's a pity most of us hardly even know their names!
I don't want this article to drag as long some of my previous ones, so I'm trying to split this into various categories. I hope this helps in shortening what can be a very lengthy post.
The early years: Kalyanji-Anandji started off in the late 50s, and let's not forget that was the period ruled by some of the best music directors of the Golden Era; while they did not create huge waves with their movies, there were some songs that really proved their worth and enough to give an impression on producers that would make them cast for some big-budget movies later. Mere Dil Mein Hai Ek Baat from Post Box 999, Dum Dum Diga Diga from Challia, Govinda Aala Re from Bluffmaster being some of the prime examples, it is safe to say the songs of these movies really helped Kalyanji-Anandji (K.A.) 'arrive' in Bollywood.
The Golden Movie in 1965 - Jab Jab Phool Khile: This was the movie that made stars out of Shashi Kapoor and Nanda, but the unsung heroes of the film had to be K.A. for their brilliant music. Each song was better than the other and remain evergreen classics. K.A. made sure the spectacular lyrics of the film got the right treatment. Pardesiyon Se Na Ankhiyan Milana was used three times in the film in quick succession, and had it been half as good, people would have got found it to be a bit too much come the second time. Think of Shashi Kapoor or a song on a boat, and that's probably the first song that will come on your mind. Try it.
If Mohd. Rafi was superb in that romantic solo, there was also Yahaan Main Ajnabi Hoon - a sad solo number. However, if I had to choose one solo of Rafi from this movie, I would pick Humko Tumpe Pyaar Aaya. One really has to admire K.A. for this tune. I think this tune is perhaps the finest representation of a person falling madly in love and then what his reaction when the girl says she likes him too - basically all he is going to do is shout, jump, run and shout again; precisely what this song is about! Rafi had a real challenge in this one, where he sings lots of words quickly and breathless, and not surprisingly, he delivered exactly what was required.
Who can also forget Lata's solo - Ye Sama Sama Hai Ye Pyaar Ka? One of the finest dreamy, romantic numbers and now one of the best 'seductive' songs of all-time!
Also, if you were to play Antakshari, it can be guaranteed that when the letter 'Na' comes, the song Na Na Karte Pyar Tumhi Se Kar Baithe is going to be one of the first few songs sung. A delightful romantic duet between Rafi and Suman Kalyanpur, this is probably one of the most famous songs from this movie till date even if very few actually which film the song is from.
My favourite song from this movie has to be Ek Tha Gul Aur Ek Thi Bulbul. This is one of the best combinations of lyrics-music-singing in my opinion. As far as songs being perfectly fitted to the story of a movie goes, this is as perfect as it gets! This song is not just a song, it's a whole story in itself, and in fact, it's the story of the film. Hats off to everyone involved in this song. You just have to listen to it to understand what I'm talking about. I initially wanted to descibe the lyrics and the tune (which is not exactly constant - it varies in every stanza) in more detail, but in the interest of this overall article, I'd better not.
The Manoj Kumar collaboration: While 1965 will always be remembered by me as the year of Jab Jab Phool Khile, K.A. got their first Filmfare Nomination for their work in Himalay Ki God Mein that year. While all the songs were terrific, the one standout had to be Chand Si Mehbooba Ho Meri Kab. This was just the start of one of the finest actor/filmmaker and music director partnerships. Two years later came Upkar - Manoj Kumar's magnum opus based on Shastri's Jai Jawaan Jai Kisaan slogan. The picture of Manoj Kumar with the plough is something that no one can forget, and what better song than Mere Desh Ki Dharti to summarize the passion of Bharat (Manoj Kumar's character) for his land and nation. Definitely one of the best patriotic songs ever! This film also had the Manna Dey solo, Kasme Vaade Pyaar Wafa Sab, which depicts the disgust that Pran's character has for the changing times. While these two songs are in a league of their own, this film had provision for a cabaret number as well - and K.A. proved their versatility with Gulaabi Raat Gulaabi.
Their next collaboration would be probably K.A.'s toughest challenge - Purab Aur Paschim. If there is one song that gives me goosebumps everytime I listen to, it has to be Hai Preet Jahaan Ki Reet Sada - a patriotic number composed in a very different manner, K.A. fitted this into the dialogues of the movie and gradually gave it a tune. It again proved K.A. were experts in not letting the music overshadow the lyrics. That was exhibited again in one of my favourite romantic numbers, about a guy showing how much he loves a girl and is always willing to accept her, the song of a true lover professing his eternal love for the girl - Koi Jab Tumhara Hriday Tod De.
1970 - the magical year: By the end of the 1960's, the talent of K.A. was there for all to see and it was obvious that this was a team that was here to stay. In 1970, K.A. established themselves in the A-league category of music-directors. For me, there has no been no year in which any music director(s) has had such a great record and been as impressive as K.A. were. While Purab Aur Paschim was one of the films that released in the same year and of which we've already spoken about, the other film that really made a mark for them as the masters of the thriller genre was Johny Mera Naam, which we will speak about later. If these two films weren't enough, some of the other musical blockbusters that K.A. had during this year were Safar, Mere Humsafar, Sachcha Jhootha, Geet and Gopi.
Geet has some really hit numbers such as Mere Mitwa Mere Meet Re and Mere Humsafar of course had the famous title song, but Safar, Sacha Jhootha and Gopi were enough to show the versatility of this musical duo.
Safar's soundtrack was quite different from the other works of K.A. so far. As usual, their music was in line with the requirement of the script - simple, soft, subtle and sad ... very sad! A fantastic album, this features songs such as Zindagi Ka Safar, Jeevan Se Bhari Teri Aankhen, Nadiya Chale Chale Re Dhara and Hum The Jinke Sahare which suit the adjectives I used to generalize the music of the film. The one fast number from this album also was a highlight - Jo Tumko Ho Pasand Wohi Baat Karenge. Just these five songs in the film, and the fact that each song is so beautiful, added life to the film. Safar is considered to be one of the best tragedies of Bollywood, and with songs like these, it's hard not to imagine why!
K.A. got a chance to compose for another Rajesh Khanna film in the same year, and while the film, Sacha Jhootha was another blockbuster, the music too was not far behind from Safar in any way. While Yun Hi Tum Mujhse Pyaar was a fun, teasing number between Rajesh and Mumtaz, Dil Ko Dekho Chehra Na Dekho and Karle Pyar Karle were superhit solo numbers; all three of them equally fantastic and equally memorable. This is also the film which has the famous Meri Pyaari Beheniya Banegi Dulhaniya, which is played and sung in almost every wedding.
Gopi was a very unique album; and a fantastic one too! There is this one number in the song called Ek Padosan - very nicely done and melodious, that contains the names of the films of Dilip Kumar and Saira Banu in every sentence. A concept like that really needs lots of effort and I think that is something K.A. were never shy of. While Sukh Ke Sab Saathi, Akele Hi Akele are quite popular even today, there are the others that deserve special mention. It is never easy to compose for Dilip Kumar when he has this typical role of a naughty villager who's a rebel in his own way and who stands up for his rights and goes about things his usual 'Purrrrrr' way (similar to Naya Daur - Dilip Kumar fans will know what I mean), so when a song like Gentleman Gentleman comes about, everyone sits up and takes notice. Once again, K.A. knew how to use Rafi for these 'mad' numbers very wisely. Ramachandra Keh Gaya Siya Se is definitely one of the most popular bhajans, and I guess there's no way to explain why other than just make the person listen to it and watch the way it's picturized.
It's really a surprise how K.A. went without even a nomination, forget an award, for all their work throughout that year!
There are some people in the film industry (everywhere you consider, but more so in Bollywood) who basically do everything right, hit the right notes with every project, stay out of controversies, give in some terrific contribution towards cinema and the country, have their work being admired by almost everyone and yet do not get the kind of credit they rightfully deserve. The musical duo of Kalyanji Veerji Shah and Anandji Veerji Shah is one of them. In my mind, they are probably among the greatest music directors of all-time; yet it's a pity most of us hardly even know their names!
I don't want this article to drag as long some of my previous ones, so I'm trying to split this into various categories. I hope this helps in shortening what can be a very lengthy post.
The early years: Kalyanji-Anandji started off in the late 50s, and let's not forget that was the period ruled by some of the best music directors of the Golden Era; while they did not create huge waves with their movies, there were some songs that really proved their worth and enough to give an impression on producers that would make them cast for some big-budget movies later. Mere Dil Mein Hai Ek Baat from Post Box 999, Dum Dum Diga Diga from Challia, Govinda Aala Re from Bluffmaster being some of the prime examples, it is safe to say the songs of these movies really helped Kalyanji-Anandji (K.A.) 'arrive' in Bollywood.
The Golden Movie in 1965 - Jab Jab Phool Khile: This was the movie that made stars out of Shashi Kapoor and Nanda, but the unsung heroes of the film had to be K.A. for their brilliant music. Each song was better than the other and remain evergreen classics. K.A. made sure the spectacular lyrics of the film got the right treatment. Pardesiyon Se Na Ankhiyan Milana was used three times in the film in quick succession, and had it been half as good, people would have got found it to be a bit too much come the second time. Think of Shashi Kapoor or a song on a boat, and that's probably the first song that will come on your mind. Try it.
If Mohd. Rafi was superb in that romantic solo, there was also Yahaan Main Ajnabi Hoon - a sad solo number. However, if I had to choose one solo of Rafi from this movie, I would pick Humko Tumpe Pyaar Aaya. One really has to admire K.A. for this tune. I think this tune is perhaps the finest representation of a person falling madly in love and then what his reaction when the girl says she likes him too - basically all he is going to do is shout, jump, run and shout again; precisely what this song is about! Rafi had a real challenge in this one, where he sings lots of words quickly and breathless, and not surprisingly, he delivered exactly what was required.
Who can also forget Lata's solo - Ye Sama Sama Hai Ye Pyaar Ka? One of the finest dreamy, romantic numbers and now one of the best 'seductive' songs of all-time!
Also, if you were to play Antakshari, it can be guaranteed that when the letter 'Na' comes, the song Na Na Karte Pyar Tumhi Se Kar Baithe is going to be one of the first few songs sung. A delightful romantic duet between Rafi and Suman Kalyanpur, this is probably one of the most famous songs from this movie till date even if very few actually which film the song is from.
My favourite song from this movie has to be Ek Tha Gul Aur Ek Thi Bulbul. This is one of the best combinations of lyrics-music-singing in my opinion. As far as songs being perfectly fitted to the story of a movie goes, this is as perfect as it gets! This song is not just a song, it's a whole story in itself, and in fact, it's the story of the film. Hats off to everyone involved in this song. You just have to listen to it to understand what I'm talking about. I initially wanted to descibe the lyrics and the tune (which is not exactly constant - it varies in every stanza) in more detail, but in the interest of this overall article, I'd better not.
The Manoj Kumar collaboration: While 1965 will always be remembered by me as the year of Jab Jab Phool Khile, K.A. got their first Filmfare Nomination for their work in Himalay Ki God Mein that year. While all the songs were terrific, the one standout had to be Chand Si Mehbooba Ho Meri Kab. This was just the start of one of the finest actor/filmmaker and music director partnerships. Two years later came Upkar - Manoj Kumar's magnum opus based on Shastri's Jai Jawaan Jai Kisaan slogan. The picture of Manoj Kumar with the plough is something that no one can forget, and what better song than Mere Desh Ki Dharti to summarize the passion of Bharat (Manoj Kumar's character) for his land and nation. Definitely one of the best patriotic songs ever! This film also had the Manna Dey solo, Kasme Vaade Pyaar Wafa Sab, which depicts the disgust that Pran's character has for the changing times. While these two songs are in a league of their own, this film had provision for a cabaret number as well - and K.A. proved their versatility with Gulaabi Raat Gulaabi.
Their next collaboration would be probably K.A.'s toughest challenge - Purab Aur Paschim. If there is one song that gives me goosebumps everytime I listen to, it has to be Hai Preet Jahaan Ki Reet Sada - a patriotic number composed in a very different manner, K.A. fitted this into the dialogues of the movie and gradually gave it a tune. It again proved K.A. were experts in not letting the music overshadow the lyrics. That was exhibited again in one of my favourite romantic numbers, about a guy showing how much he loves a girl and is always willing to accept her, the song of a true lover professing his eternal love for the girl - Koi Jab Tumhara Hriday Tod De.
1970 - the magical year: By the end of the 1960's, the talent of K.A. was there for all to see and it was obvious that this was a team that was here to stay. In 1970, K.A. established themselves in the A-league category of music-directors. For me, there has no been no year in which any music director(s) has had such a great record and been as impressive as K.A. were. While Purab Aur Paschim was one of the films that released in the same year and of which we've already spoken about, the other film that really made a mark for them as the masters of the thriller genre was Johny Mera Naam, which we will speak about later. If these two films weren't enough, some of the other musical blockbusters that K.A. had during this year were Safar, Mere Humsafar, Sachcha Jhootha, Geet and Gopi.
Geet has some really hit numbers such as Mere Mitwa Mere Meet Re and Mere Humsafar of course had the famous title song, but Safar, Sacha Jhootha and Gopi were enough to show the versatility of this musical duo.
Safar's soundtrack was quite different from the other works of K.A. so far. As usual, their music was in line with the requirement of the script - simple, soft, subtle and sad ... very sad! A fantastic album, this features songs such as Zindagi Ka Safar, Jeevan Se Bhari Teri Aankhen, Nadiya Chale Chale Re Dhara and Hum The Jinke Sahare which suit the adjectives I used to generalize the music of the film. The one fast number from this album also was a highlight - Jo Tumko Ho Pasand Wohi Baat Karenge. Just these five songs in the film, and the fact that each song is so beautiful, added life to the film. Safar is considered to be one of the best tragedies of Bollywood, and with songs like these, it's hard not to imagine why!
K.A. got a chance to compose for another Rajesh Khanna film in the same year, and while the film, Sacha Jhootha was another blockbuster, the music too was not far behind from Safar in any way. While Yun Hi Tum Mujhse Pyaar was a fun, teasing number between Rajesh and Mumtaz, Dil Ko Dekho Chehra Na Dekho and Karle Pyar Karle were superhit solo numbers; all three of them equally fantastic and equally memorable. This is also the film which has the famous Meri Pyaari Beheniya Banegi Dulhaniya, which is played and sung in almost every wedding.
Gopi was a very unique album; and a fantastic one too! There is this one number in the song called Ek Padosan - very nicely done and melodious, that contains the names of the films of Dilip Kumar and Saira Banu in every sentence. A concept like that really needs lots of effort and I think that is something K.A. were never shy of. While Sukh Ke Sab Saathi, Akele Hi Akele are quite popular even today, there are the others that deserve special mention. It is never easy to compose for Dilip Kumar when he has this typical role of a naughty villager who's a rebel in his own way and who stands up for his rights and goes about things his usual 'Purrrrrr' way (similar to Naya Daur - Dilip Kumar fans will know what I mean), so when a song like Gentleman Gentleman comes about, everyone sits up and takes notice. Once again, K.A. knew how to use Rafi for these 'mad' numbers very wisely. Ramachandra Keh Gaya Siya Se is definitely one of the most popular bhajans, and I guess there's no way to explain why other than just make the person listen to it and watch the way it's picturized.
It's really a surprise how K.A. went without even a nomination, forget an award, for all their work throughout that year!
Remembering a legendary duo: Kalyanji-Anandji (Part II of II)
The Vijay Anand collaboration: In 1970, as mentioned K.A. got an opportunity to compose for Vijay Anand's Johny Mera Naam. Every music director would know that that is a golden opportunity for their music to shine like never before. In my opinion, there could be no bigger honour for a music director than to compose for Vijay Anand, for you can be rest assured your music will be used in the film like never before and the picturization of the songs is going to take them to a different level altogether!
K.A. grabbed their golden chance with some evergreen hits like Pal Bhar Ke Liye, O Mere Raja, Nafrat Karne Walon Ke, Babul Pyare, Govind Bolo Hari Gopal Bolo and Husn Ke Laakhon Rang. While there is no doubt that the picturization of these songs is what has made them last in people's minds forever, just the songs as a whole would still make for a wonderful album had it been someone else at the helms apart from Vijay Anand. If there is one thing for which the credit can be totally attributed to K.A., it would have to be the chilling background score. Johny Mera Naam is regarded as one of the best thrillers of all time, and any layman would also know how critical background music is to a film of this genre! Right from when the credits appear in the movie till the movie ends, the background music keeps you on the edge of your seat the whole time. This movie is what established K.A. as the masters of the thriller genre, and it is probably why Vijay Anand repeated them for Blackmail.
If K.A. had just composed this one song from Blackmail in their entire career, they would still be regarded as top-class, simply because this song is probably one of the most romantic numbers ever! There is a reason why this song is perenially on every person's lips or mind, irrespective of age or region. The song of course is the beautiful Pal Pal Dil Ke Paas. What K.A. also accomplished in Blackmail is give Shatrughan Sinha his most memorable song of his career - Sharbati Teri Aankhon Mein. A fun, crazy, Kishore Kumar romantic number, this was also the first ever time a song was picturized on Shatrughan!
The Prakash Mehra collaboration: Prakash Mehra signed K.A. for his very first directorial venture, Haseena Maan Jayegi, which became a box-office hit vastly due to it's superhit music as well as it's interesting screenplay and Shashi Kapoor's charm. With fun songs like Dilbar Dilbar and O Dilbar Jaaniye, Shashi Kapoor got some of his most recognizable songs. Bekhudi Mein Sanam was another lovely romantic composition. Just like Gopi, here too K.A. were given a special task of paying tribute. And it was none other than themselves in this case!!! Suno Suno saw Shashi Kapoor in one of his craziest getups, doing some wild things; all for some of K.A.'s songs reworded and remixed! Prakash Mehra's and K.A.'s was a partnership that would last till the fag end of Prakash Mehra's career.
Zanjeer came next and while Amitabh Bachchan took the nation by storm, it's music didn't go unnoticed and there is no reason why it should have. With songs like Yaari Hai Imaan Mera (possibly the best friendship song there has ever been), Diljalon Ka Dil Jala Ke (Bindu in one of her finest songs), Chakku Churiyaan Tez Kara Lo and Deewane Hain Deewanon Ko (two absolutely brilliant and totally different street songs), it is safe to say K.A. played just as big a part in making Prakash Mehra's masterpiece a big hit as they had earlier.
The Prakash Mehra - Amitabh Bachchan - K.A. combination continued with films like Hera Pheri (the title song being very well remembered even today) and then Muqaddar Ka Sikandar. Each song of the latter having a sad tone to it, K.A. outproved even themselves with this album, whether it be the title track of Rote Huye Aate Hai Sab or the other Kishore solo,O Saathi Re or the mesmerizing Salaam-E-Ishq Meri Jaan or the wonderfully crafted Dil to Hai Dil.
This combo then went on to make Lawaaris, which featured Amitabh as a playback singer for the first time with the ever-popular chartbuster, Mere Angne Mein Tumhara Kya Kaam Hai. This film is also famous for it's disco number, Apni To Jaise Taise and it's equally sober romantic number, Kab Ke Bichre Huye.
Apart from the Amitabh movies, K.A. served Prakash Mehra very well in other films as well, for example Haath Ki Safai which had some really sweet songs like Waada Karle Saajna and Hum Ko Mohabaat Ho Gayi Hai Tumse.
The Feroz Khan collaboration: When Feroz Khan acted in Safar, it was only two years before he would go on to direct his first film. What Safar must have done is re-affirm his decision that K.A. would be ideal for his first ever project - a musical duo that could never let him down. By then, K.A. had established themselves as the number one composers for thrillers as well, which would have only made Feroz Khan's job easier. And when Apradh hit the theatres, there would be no looking back for this team of Feroz and K.A. Songs like Tum Mile Pyar Se and Hamaare Siva Tumhare Kitne Deewane Hain are still popular and watching their videos is a real treat; after all they are some of the naughtiest romantic numbers ever!
However, as far as this combination goes, their best was yet to come.
Three years later came Feroz Khan's epic based on The Godfather, Dharmatma, and this was an album even K.A. would be very proud of. The music of this film reflected the film very well - both were all about style. Kya Khoob Lagti Ho is one of the most popular romantic numbers even today and will always remain one of the most stylishly shot songs ever. Each song of this film was a masterpiece; some that come in mind while typing are Tune Kisi Se Kabhi Pyar Kiya Hai and Tere Chehre Mein Woh Jaadu Hai. While the former is a very uniquely written romantic number aptly suiting the script situation (and it was a rather tough one - while it has to show the love of Rekha for Feroz, it has to also remind Feroz of his dead lover - so the music had to be romantic as well as have a sad nostalgic touch to it, at the same time), the latter is a song every girl would love to hear from a guy. This film also had possibly one of the first, and yet finest, 'gypsy'-style numbers with Mere Galiyon Se. Again, what transformed what would have been a very good movie into a terrific one was the thrilling background score. Watch out also for a cabaret number in this film that had no words and served it's purpose only with music.
The pair reunited for Qurbani, which was a revolution as far as music in the '80s goes. While songs like Aap Jaisa Koi and Laila O Laila were fantastic numbers shot in bars in disco style, there was also this extremely romantic number on the other hand - Hum Tumhe Chahte Hain Jaise, not to forget the title track which is as good a friendship song as the one in Zanjeer.
Their last pairing was in Jaanbaaz in 1986, which saw a very different 'avatar' of K.A. While songs like Har Kisi Ko Nahin Milta and Pyar Do Pyar Lo might have been totally 'hatke' and something totally unlike K.A. (more like something Bappi Lahiri or R.D.Burman would have done), there was no compromise on quality from their end. The story demanded steamy numbers, which would be picturized boldly, so the songs had to be enticing to say the least; and K.A. showed that they had moved on with the times and delivered just that!
The thriller genre: Come the 1970s and as mentioned, by then K.A. had established themselves as the most sought-after musical directors when the genre of the movie was thrill or suspense. Apart from the movies mentioned till now, K.A. reigned supreme in other thrillers of those times such as Victoria No. 203, which also had a recurring background theme like Johny Mera Naam and Sachcha Jhoota and also some very hit numbers, the most popular today being Do Bechare Bina Sahare, a fun number picturized on two character actors - Pran and Ashok Kumar. In fact, K.A. teamed up with the director of this movie on other occasions as well, such as Ek Se Badhar Ek, Kathputli (a drama from Brij, which was a deviation from his usual genre), Bombay 405 Miles and Chori Mera Kaam. All films had a rivetting background score and some hit numbers as well.
Gulzar signed K.A. for his thriller cum drama, Faraar. Again, composing for Gulzar's scripts is never easy because they come with so many layers, but nothing was too difficult for K.A, who justified the faith Gulzar showered on them. Gulzar didn't make too many thrillers and he always had R.D.Burman as his composer for most of his films, so when he finally made a movie about a policeman and his wife whose child is taken hostage by a murderer in their very own home, K.A. just had to deliver; and in what fine style they did. A very engrossing background score again, they also gave some superhit numbers like Main Pyaasa Tum Saawan.
K.A. gave another hit album in the form of Khoon Pasina, which had some huge hits like the title track, Khoon Pasine Ki Jo Milenge To Khayenge and Main Teri Ho Gayee Tu Mera Ho Gaya.
However, K.A.'s best for Amitabh Bachchan was yet to come - in 1978 came the cult classic, Don; and what is there to be said about this movie one already doesn't know. Each song of this film remains popular even today, be it Helen's famous item number to stall Amitabh while the police catch up on him, Ye Mera Dil Pyar Ka Deewana or the uneducated Amitabh singing Yeh Hai Bombai Nazariya Tu Dekh Babuya or about a woman seeking revenge, Zeenat singing Jiska Mujhe Tha Intezar or the very famous title track Main Hoon Don. But then, no mention of Don can be complete without the song that no one has dare change apart from just remixing it slightly when the movie was remade in various regional languages, as well as again in Hindi - Khaike Paan Banaraswala! Just this song is enough to demonstrate how much K.A. are actually present in our hearts and minds without us knowing it's them. I don't think there's any need to write about this song, and quite frankly, I don't think there are words to describe it as well!
Their other films: Despite all the work mentioned above, K.A. got offers from various other filmmakers as well. Some of the biggest blockbusters of those years or critically acclaimed movies of those times also had K.A. giving the score. While Hum Rahi, Do Anjaane, Joroo Ka Ghulam, Bairaag and Kalicharan had good scores, K.A. really shone in movies like Rafoo Chakkar which had some really fun numbers like Kisi Pe Dil Agar and Bombay Se Baroda Tak; Saraswatichandra, which had some of the most beautiful and soothing songs ever like Chandan Sa Badan and Phool Tumhe Bheja Hai Khat Mein; and Kora Kaagaz which won K.A. their only Filmfare Award. A beautiful, smart and highly emotional film, K.A.'s music immortalized the film with songs like Mera Jeeven Kora Kagaz, Roothe Roothe Piya and Mere Padhne Mein Nahin.
Viju Shah: Kalyanji's son, Viju Shah, began his Bollywood career as a music director with a bang with Tridev, maintained his tempo with Vishwaatma, Junoon and Yalgaar and followed up their success with even bigger hits like Mohra and Gupt, showing that when it comes to thrillers, he has inherited his genes from possibly the greatest of that genre. He gave chartbuster hits for films like Bade Miyan Chote Miyan, Tere Mere Sapne, Dil Ka Rishta and Pyar Ishq Aur Mohabbat.
Looking at the filmography of Kalyanji-Anandji, it is really a wonder how this duo could only land up with one Filmfare Award and one other Filmfare Nomination in their entire career. Looks like it's not just the audience who have not given them their due, but the critics as well. As I started off this lengthy article, there are some unsung heroes in every film industry. There are several in Bollywood and Kalyanji-Anandji are just two of them.
K.A. grabbed their golden chance with some evergreen hits like Pal Bhar Ke Liye, O Mere Raja, Nafrat Karne Walon Ke, Babul Pyare, Govind Bolo Hari Gopal Bolo and Husn Ke Laakhon Rang. While there is no doubt that the picturization of these songs is what has made them last in people's minds forever, just the songs as a whole would still make for a wonderful album had it been someone else at the helms apart from Vijay Anand. If there is one thing for which the credit can be totally attributed to K.A., it would have to be the chilling background score. Johny Mera Naam is regarded as one of the best thrillers of all time, and any layman would also know how critical background music is to a film of this genre! Right from when the credits appear in the movie till the movie ends, the background music keeps you on the edge of your seat the whole time. This movie is what established K.A. as the masters of the thriller genre, and it is probably why Vijay Anand repeated them for Blackmail.
If K.A. had just composed this one song from Blackmail in their entire career, they would still be regarded as top-class, simply because this song is probably one of the most romantic numbers ever! There is a reason why this song is perenially on every person's lips or mind, irrespective of age or region. The song of course is the beautiful Pal Pal Dil Ke Paas. What K.A. also accomplished in Blackmail is give Shatrughan Sinha his most memorable song of his career - Sharbati Teri Aankhon Mein. A fun, crazy, Kishore Kumar romantic number, this was also the first ever time a song was picturized on Shatrughan!
The Prakash Mehra collaboration: Prakash Mehra signed K.A. for his very first directorial venture, Haseena Maan Jayegi, which became a box-office hit vastly due to it's superhit music as well as it's interesting screenplay and Shashi Kapoor's charm. With fun songs like Dilbar Dilbar and O Dilbar Jaaniye, Shashi Kapoor got some of his most recognizable songs. Bekhudi Mein Sanam was another lovely romantic composition. Just like Gopi, here too K.A. were given a special task of paying tribute. And it was none other than themselves in this case!!! Suno Suno saw Shashi Kapoor in one of his craziest getups, doing some wild things; all for some of K.A.'s songs reworded and remixed! Prakash Mehra's and K.A.'s was a partnership that would last till the fag end of Prakash Mehra's career.
Zanjeer came next and while Amitabh Bachchan took the nation by storm, it's music didn't go unnoticed and there is no reason why it should have. With songs like Yaari Hai Imaan Mera (possibly the best friendship song there has ever been), Diljalon Ka Dil Jala Ke (Bindu in one of her finest songs), Chakku Churiyaan Tez Kara Lo and Deewane Hain Deewanon Ko (two absolutely brilliant and totally different street songs), it is safe to say K.A. played just as big a part in making Prakash Mehra's masterpiece a big hit as they had earlier.
The Prakash Mehra - Amitabh Bachchan - K.A. combination continued with films like Hera Pheri (the title song being very well remembered even today) and then Muqaddar Ka Sikandar. Each song of the latter having a sad tone to it, K.A. outproved even themselves with this album, whether it be the title track of Rote Huye Aate Hai Sab or the other Kishore solo,O Saathi Re or the mesmerizing Salaam-E-Ishq Meri Jaan or the wonderfully crafted Dil to Hai Dil.
This combo then went on to make Lawaaris, which featured Amitabh as a playback singer for the first time with the ever-popular chartbuster, Mere Angne Mein Tumhara Kya Kaam Hai. This film is also famous for it's disco number, Apni To Jaise Taise and it's equally sober romantic number, Kab Ke Bichre Huye.
Apart from the Amitabh movies, K.A. served Prakash Mehra very well in other films as well, for example Haath Ki Safai which had some really sweet songs like Waada Karle Saajna and Hum Ko Mohabaat Ho Gayi Hai Tumse.
The Feroz Khan collaboration: When Feroz Khan acted in Safar, it was only two years before he would go on to direct his first film. What Safar must have done is re-affirm his decision that K.A. would be ideal for his first ever project - a musical duo that could never let him down. By then, K.A. had established themselves as the number one composers for thrillers as well, which would have only made Feroz Khan's job easier. And when Apradh hit the theatres, there would be no looking back for this team of Feroz and K.A. Songs like Tum Mile Pyar Se and Hamaare Siva Tumhare Kitne Deewane Hain are still popular and watching their videos is a real treat; after all they are some of the naughtiest romantic numbers ever!
However, as far as this combination goes, their best was yet to come.
Three years later came Feroz Khan's epic based on The Godfather, Dharmatma, and this was an album even K.A. would be very proud of. The music of this film reflected the film very well - both were all about style. Kya Khoob Lagti Ho is one of the most popular romantic numbers even today and will always remain one of the most stylishly shot songs ever. Each song of this film was a masterpiece; some that come in mind while typing are Tune Kisi Se Kabhi Pyar Kiya Hai and Tere Chehre Mein Woh Jaadu Hai. While the former is a very uniquely written romantic number aptly suiting the script situation (and it was a rather tough one - while it has to show the love of Rekha for Feroz, it has to also remind Feroz of his dead lover - so the music had to be romantic as well as have a sad nostalgic touch to it, at the same time), the latter is a song every girl would love to hear from a guy. This film also had possibly one of the first, and yet finest, 'gypsy'-style numbers with Mere Galiyon Se. Again, what transformed what would have been a very good movie into a terrific one was the thrilling background score. Watch out also for a cabaret number in this film that had no words and served it's purpose only with music.
The pair reunited for Qurbani, which was a revolution as far as music in the '80s goes. While songs like Aap Jaisa Koi and Laila O Laila were fantastic numbers shot in bars in disco style, there was also this extremely romantic number on the other hand - Hum Tumhe Chahte Hain Jaise, not to forget the title track which is as good a friendship song as the one in Zanjeer.
Their last pairing was in Jaanbaaz in 1986, which saw a very different 'avatar' of K.A. While songs like Har Kisi Ko Nahin Milta and Pyar Do Pyar Lo might have been totally 'hatke' and something totally unlike K.A. (more like something Bappi Lahiri or R.D.Burman would have done), there was no compromise on quality from their end. The story demanded steamy numbers, which would be picturized boldly, so the songs had to be enticing to say the least; and K.A. showed that they had moved on with the times and delivered just that!
The thriller genre: Come the 1970s and as mentioned, by then K.A. had established themselves as the most sought-after musical directors when the genre of the movie was thrill or suspense. Apart from the movies mentioned till now, K.A. reigned supreme in other thrillers of those times such as Victoria No. 203, which also had a recurring background theme like Johny Mera Naam and Sachcha Jhoota and also some very hit numbers, the most popular today being Do Bechare Bina Sahare, a fun number picturized on two character actors - Pran and Ashok Kumar. In fact, K.A. teamed up with the director of this movie on other occasions as well, such as Ek Se Badhar Ek, Kathputli (a drama from Brij, which was a deviation from his usual genre), Bombay 405 Miles and Chori Mera Kaam. All films had a rivetting background score and some hit numbers as well.
Gulzar signed K.A. for his thriller cum drama, Faraar. Again, composing for Gulzar's scripts is never easy because they come with so many layers, but nothing was too difficult for K.A, who justified the faith Gulzar showered on them. Gulzar didn't make too many thrillers and he always had R.D.Burman as his composer for most of his films, so when he finally made a movie about a policeman and his wife whose child is taken hostage by a murderer in their very own home, K.A. just had to deliver; and in what fine style they did. A very engrossing background score again, they also gave some superhit numbers like Main Pyaasa Tum Saawan.
K.A. gave another hit album in the form of Khoon Pasina, which had some huge hits like the title track, Khoon Pasine Ki Jo Milenge To Khayenge and Main Teri Ho Gayee Tu Mera Ho Gaya.
However, K.A.'s best for Amitabh Bachchan was yet to come - in 1978 came the cult classic, Don; and what is there to be said about this movie one already doesn't know. Each song of this film remains popular even today, be it Helen's famous item number to stall Amitabh while the police catch up on him, Ye Mera Dil Pyar Ka Deewana or the uneducated Amitabh singing Yeh Hai Bombai Nazariya Tu Dekh Babuya or about a woman seeking revenge, Zeenat singing Jiska Mujhe Tha Intezar or the very famous title track Main Hoon Don. But then, no mention of Don can be complete without the song that no one has dare change apart from just remixing it slightly when the movie was remade in various regional languages, as well as again in Hindi - Khaike Paan Banaraswala! Just this song is enough to demonstrate how much K.A. are actually present in our hearts and minds without us knowing it's them. I don't think there's any need to write about this song, and quite frankly, I don't think there are words to describe it as well!
Their other films: Despite all the work mentioned above, K.A. got offers from various other filmmakers as well. Some of the biggest blockbusters of those years or critically acclaimed movies of those times also had K.A. giving the score. While Hum Rahi, Do Anjaane, Joroo Ka Ghulam, Bairaag and Kalicharan had good scores, K.A. really shone in movies like Rafoo Chakkar which had some really fun numbers like Kisi Pe Dil Agar and Bombay Se Baroda Tak; Saraswatichandra, which had some of the most beautiful and soothing songs ever like Chandan Sa Badan and Phool Tumhe Bheja Hai Khat Mein; and Kora Kaagaz which won K.A. their only Filmfare Award. A beautiful, smart and highly emotional film, K.A.'s music immortalized the film with songs like Mera Jeeven Kora Kagaz, Roothe Roothe Piya and Mere Padhne Mein Nahin.
Viju Shah: Kalyanji's son, Viju Shah, began his Bollywood career as a music director with a bang with Tridev, maintained his tempo with Vishwaatma, Junoon and Yalgaar and followed up their success with even bigger hits like Mohra and Gupt, showing that when it comes to thrillers, he has inherited his genes from possibly the greatest of that genre. He gave chartbuster hits for films like Bade Miyan Chote Miyan, Tere Mere Sapne, Dil Ka Rishta and Pyar Ishq Aur Mohabbat.
Looking at the filmography of Kalyanji-Anandji, it is really a wonder how this duo could only land up with one Filmfare Award and one other Filmfare Nomination in their entire career. Looks like it's not just the audience who have not given them their due, but the critics as well. As I started off this lengthy article, there are some unsung heroes in every film industry. There are several in Bollywood and Kalyanji-Anandji are just two of them.
Wednesday, November 10, 2010
Bombai Ka Babu (1960): A forgotten gem of Indian Cinema
I was always very much looking forward to seeing Bombai Ka Babu because I just love the Raj Khosla - Dev Anand team; last week I finally got a chance to see it for the first time, and the film certainly lived up to my expectations. There are a few films that leave an impact after having seen them, and Bombai Ka Babu did just that! I saw the movie in the afternoon and my day from evening till the time I went to sleep, and even for a few hours next morning was completely wasted. I say that because this movie (especially it's ending) had me thinking about it so much I just did not have the mood to do anything else.
All I knew of the movie before I saw it were a few songs - Deewana Mastana Hua Dil, Dekhne Mein Bhola Hai, Tak Dhoom Tak Dhoom Baje, Saathi Na Koi Manzil and Chal Ri Sajni - all fantastic, but that was no lone reason to have high expectations. Raj Khosla had till then proven that he was a master story-teller, with films like C.I.D, Solva Saal and Kala Pani to his credit, and people who've followed his filmography will agree that the 50s and 60s were the years he was at his peak, and as good as any filmmaker there ever was then.
Bombai Ka Babu had a rivetting screenplay right from the first scene, and the story was very much ahead of it's times. Babu (Dev Anand) was a crook who wanted to reform himself thanks to his friendship with Inspector Malik (Manohar Deepak), but circumstances led to him accidentally killing his friend, Bali (Jagdish Raj). While on the flee from the police, he lands up in the small town of Jogendranagar, where his identity is caught by Bhagat (Rashid Khan) who blackmails him into entering a wealthy household where their son had run away from home as a kid, who must now be of his same age, with the intention of robbing the entire treasury of the house soon. The actual film begins only then, when Babu pretends he is the long-lost son of the family, and falls in love with Maya (Suchitra Sen) who is his "sister".
The screenplay was terrific, especially in scenes where Maya begins to suspect about Babu's character and his feelings for her which was definitely not just brotherly love, and she sets about to test him. With the kind of ending the filmmakers decided to give, thoughtfully picking who's going to be in the frame and when, with the quality of dialogues and acting, not to forget the song Chal Ri Sajni going about in the background, I must say the climax of this film has got to be one of the best ever!
Raj Khosla's direction was at his best, and one prime example for that is the way the song Deewana Mastana Hua Dil was picturized, with Maya singing the song because she is happy her brother has returned back after so many years and Babu on the other hand joining in, because he is so much in love with her. Well, Raj Khosla has always been very good with his song picturizations anyway, with the remaining songs also been done full justice, especially Saathi Na Koi Manzil and Chal Ri Sajni. The scene where Maya finds out the truth about Babu was shown in a very witty manner, with her moving between pillars separated by curtains in her house, recollecting many situations from the past. Also, the fact that Raj Khosla had mastered the art of filming in black-and-white just like his mentor Guru Dutt, was evident right in the first scene, when the credits appear in a sort of horizontal split screen manner, with Malik following Babu's car in his police jeep.
I don't know which department faltered even slightly in this beautiful film. Everything seemed just perfect throughout. Dev Anand once again proved that given a good director, he can be as terrific as anyone else. This film totally belonged to Dev where he was present in almost every scene and gave a splendid performance which required him to be charming, romantic, sad and troubled. Nasir Hussain and Achala Sachdev were brilliant as usual as the parents ecstatic at having their son back. Rashid Khan and Jagdish Raj were superb in their roles as well. The highlight of the film for me, however, had to be Suchitra Sen, who emoted throughout the film with just her eyes. Her playful expressions and performance in the song Dekhne Mein Bhola Hai Dil Ka Salona are unforgettable. The climax had one of the best moments in the film and Dev and Suchitra quite easily, showed their class.
The music of the film was excellent as well, every song being extremely hummable; and lyrics very smartly written to suit the storyline.
All in all, a must-watch movie for people of all ages. Sensitive people might consider sitting down with a box of tissues for this one (I'm not giving away the ending - the entire film is filled with beautiful moments). I would highly recommend everyone to buy the CD as this film is worth owning.
My rating for Bombai Ka Babu - 4 and a 1/2 stars out of 5!
All I knew of the movie before I saw it were a few songs - Deewana Mastana Hua Dil, Dekhne Mein Bhola Hai, Tak Dhoom Tak Dhoom Baje, Saathi Na Koi Manzil and Chal Ri Sajni - all fantastic, but that was no lone reason to have high expectations. Raj Khosla had till then proven that he was a master story-teller, with films like C.I.D, Solva Saal and Kala Pani to his credit, and people who've followed his filmography will agree that the 50s and 60s were the years he was at his peak, and as good as any filmmaker there ever was then.
Bombai Ka Babu had a rivetting screenplay right from the first scene, and the story was very much ahead of it's times. Babu (Dev Anand) was a crook who wanted to reform himself thanks to his friendship with Inspector Malik (Manohar Deepak), but circumstances led to him accidentally killing his friend, Bali (Jagdish Raj). While on the flee from the police, he lands up in the small town of Jogendranagar, where his identity is caught by Bhagat (Rashid Khan) who blackmails him into entering a wealthy household where their son had run away from home as a kid, who must now be of his same age, with the intention of robbing the entire treasury of the house soon. The actual film begins only then, when Babu pretends he is the long-lost son of the family, and falls in love with Maya (Suchitra Sen) who is his "sister".
The screenplay was terrific, especially in scenes where Maya begins to suspect about Babu's character and his feelings for her which was definitely not just brotherly love, and she sets about to test him. With the kind of ending the filmmakers decided to give, thoughtfully picking who's going to be in the frame and when, with the quality of dialogues and acting, not to forget the song Chal Ri Sajni going about in the background, I must say the climax of this film has got to be one of the best ever!
Raj Khosla's direction was at his best, and one prime example for that is the way the song Deewana Mastana Hua Dil was picturized, with Maya singing the song because she is happy her brother has returned back after so many years and Babu on the other hand joining in, because he is so much in love with her. Well, Raj Khosla has always been very good with his song picturizations anyway, with the remaining songs also been done full justice, especially Saathi Na Koi Manzil and Chal Ri Sajni. The scene where Maya finds out the truth about Babu was shown in a very witty manner, with her moving between pillars separated by curtains in her house, recollecting many situations from the past. Also, the fact that Raj Khosla had mastered the art of filming in black-and-white just like his mentor Guru Dutt, was evident right in the first scene, when the credits appear in a sort of horizontal split screen manner, with Malik following Babu's car in his police jeep.
I don't know which department faltered even slightly in this beautiful film. Everything seemed just perfect throughout. Dev Anand once again proved that given a good director, he can be as terrific as anyone else. This film totally belonged to Dev where he was present in almost every scene and gave a splendid performance which required him to be charming, romantic, sad and troubled. Nasir Hussain and Achala Sachdev were brilliant as usual as the parents ecstatic at having their son back. Rashid Khan and Jagdish Raj were superb in their roles as well. The highlight of the film for me, however, had to be Suchitra Sen, who emoted throughout the film with just her eyes. Her playful expressions and performance in the song Dekhne Mein Bhola Hai Dil Ka Salona are unforgettable. The climax had one of the best moments in the film and Dev and Suchitra quite easily, showed their class.
The music of the film was excellent as well, every song being extremely hummable; and lyrics very smartly written to suit the storyline.
All in all, a must-watch movie for people of all ages. Sensitive people might consider sitting down with a box of tissues for this one (I'm not giving away the ending - the entire film is filled with beautiful moments). I would highly recommend everyone to buy the CD as this film is worth owning.
My rating for Bombai Ka Babu - 4 and a 1/2 stars out of 5!
Sunday, October 24, 2010
Total Recall's episode of Spectacular Debuts
I've already mentioned about Total Recall, the regular weekend show on Times Now once in my blog; that is a show I absolutely adore and never miss. I have lots of respect for the Times Now folks who have decided to air such a show every weekend without fail. Sometimes I even watch it about three times that very weekend (with partly a reason being to boost it's TRPs, if my watching it is going to make much difference). What started off as a half an hour show about two years back has now extended to one hour, besides having another half an hour show specifically dedicated to songs. Not only is the show very inspirational, nostalgic (in some cases) and imformative, it's biggest achievement is probably establishing a connect between the Golden Age of Bollywood and the youngsters of today who have no idea about those times.
While I've always loved each and every episode of Total Recall, there was just this one episode that frustrated me a little. This was the episode dedicated to those actors who made a huge mark in their very first film. While this list could be endless and since Times Now acknowledged only the leading actors and actresses and not character actors, I'm going to speak only about 'heros and heroines' as well.
The episode started off with Asha Parekh whose first film, Dil Deke Dekho, became a huge box-office hit - her name obviously had to be there; and so should have been the other actress who made her big Bollywood opposite Shammi Kapoor as well - in the classic Junglee, Saira Banu.
I especially liked the inclusion of both the stars of Love In Simla - Joy Mukherjee and Sadhana. I am so glad they were not ignored, as not only was the film so sweet and their acting impeccable, but like the other two names mentioned before, this pair also made it big in Bollywood after this film.
Talk about debuts, and the one name that immediately pops up is Jaya Bhaduri in Guddi. I just wish they could have spent a couple of minutes more on her section in the show. What a performance ... and what a film!
No list of spectacular acting debuts could be complete without the names of Shabana Azmi and Naseerudinn Shah, for their performances in Ankur and Nishaant, respectively. These were probably the best ever first performances in the history of Indian cinema, in my opinion; in fact these rate quite easily in the best ever performances overall, so it's no surprise that their names were mentioned. I can never ever forget these two impactful performances by Shabana and Naseer. They had left me in a daze after the movies got over. It seriously took a while to get back to reality after watching these movies, for I was still lost in the world of these two movies and kept thinking about them for a long long time.
It was the list of actors after this that had me baffled and upset.
First of all, I don't know why Anant Nag was left out from the list even though the research team had selected Shabana for the same movie.
Also, when they mentioned some of the female stars who acted alongside Shammi Kapoor in their first movie, how could they leave out Sharmila Tagore for Kashmir Ki Kali? That was such a sweet and charming performance, just as the role demanded. They probably considered Apur Sansar as her first movie; but even if they did, that was such a great debut as well. Perhaps they decided to only concentrate on Hindi debuts ...
Next, the actors who were talked about on the show were Sanjay Dutt for Rocky, Shahrukh Khan for Deewana, Preity Zinta for Dil Se and Vidya Balan for Parineeta.
I ABSOLUTELY agree with the name of Vidya Balan on that list. Her's was a stellar performance, and really deserving of all the accolades she received.
Sanjya Dutt was good, no doubt; but he was in no way 'spectacular' as the episode wanted to convey. Moreover, if they wanted to have Sanjay Dutt in that list, then why leave out Sunny Deol (Betaab) and Kumar Gaurav (Love Story), whose films were even bigger hits?
What about Rishi Kapoor? What more can anyone do to make that list??!! Rishi, as a leading actor was the first person to win a Filmfare Best Actor Award for his first movie, he became a HUGE star immediately after Bobby released and had a huge line of producers anxious to meet him right after. The only reason I can think of the show creators not including his name there is if they considered his first movie to be Mera Naam Joker, where he made a wonderful debut as a teenage actor ... but come on!!! That was such a touching and memorable performance as well!
Also, two major actresses became overnight stars with their debut movies - Zeenat Aman (Hare Rama Hare Krishna) and Dimple Kapadia (Bobby). I am SHOCKED that their names were left out. I just don't know what was going in the makers' minds when they were making their list and came towards the '70s decade.
Talking of actresses, Preity's name for Dil Se is surprising, because not only did Preity's role end with the blink of an eye, the film too came and went by without many people knowing. If at all they had to pick Preity, then why leave out Raveena Tandon for Patthar Ke Phool. That film was a hit at the box-office and Raveena was the leading lady, who went on to become a star as well.
And lastly, Shahrukh Khan for Deewana???? You've got to be kidding me! I have no comments to add on this inclusion, however I can something about one's exclusion - Hrithik Roshan for Kaho Na Pyaar Hai!!! He became a craze in the nation after his terrific double role performance in the film, and his rubbery dance moves. How could the show creators / research team forget his name, except if they considered his first movie to be Bhagwaan Dada, or his 'actual' first roles in Aap Ke Deewane or Aasha where he just appeared for a single scene, which would be a real shame.
Again, thankfully this was just a list of leading actors; otherwise if they were to mess up with a list of powerful first performances of character actors, that would be just TOO MUCH!!!
While I've always loved each and every episode of Total Recall, there was just this one episode that frustrated me a little. This was the episode dedicated to those actors who made a huge mark in their very first film. While this list could be endless and since Times Now acknowledged only the leading actors and actresses and not character actors, I'm going to speak only about 'heros and heroines' as well.
The episode started off with Asha Parekh whose first film, Dil Deke Dekho, became a huge box-office hit - her name obviously had to be there; and so should have been the other actress who made her big Bollywood opposite Shammi Kapoor as well - in the classic Junglee, Saira Banu.
I especially liked the inclusion of both the stars of Love In Simla - Joy Mukherjee and Sadhana. I am so glad they were not ignored, as not only was the film so sweet and their acting impeccable, but like the other two names mentioned before, this pair also made it big in Bollywood after this film.
Talk about debuts, and the one name that immediately pops up is Jaya Bhaduri in Guddi. I just wish they could have spent a couple of minutes more on her section in the show. What a performance ... and what a film!
No list of spectacular acting debuts could be complete without the names of Shabana Azmi and Naseerudinn Shah, for their performances in Ankur and Nishaant, respectively. These were probably the best ever first performances in the history of Indian cinema, in my opinion; in fact these rate quite easily in the best ever performances overall, so it's no surprise that their names were mentioned. I can never ever forget these two impactful performances by Shabana and Naseer. They had left me in a daze after the movies got over. It seriously took a while to get back to reality after watching these movies, for I was still lost in the world of these two movies and kept thinking about them for a long long time.
It was the list of actors after this that had me baffled and upset.
First of all, I don't know why Anant Nag was left out from the list even though the research team had selected Shabana for the same movie.
Also, when they mentioned some of the female stars who acted alongside Shammi Kapoor in their first movie, how could they leave out Sharmila Tagore for Kashmir Ki Kali? That was such a sweet and charming performance, just as the role demanded. They probably considered Apur Sansar as her first movie; but even if they did, that was such a great debut as well. Perhaps they decided to only concentrate on Hindi debuts ...
Next, the actors who were talked about on the show were Sanjay Dutt for Rocky, Shahrukh Khan for Deewana, Preity Zinta for Dil Se and Vidya Balan for Parineeta.
I ABSOLUTELY agree with the name of Vidya Balan on that list. Her's was a stellar performance, and really deserving of all the accolades she received.
Sanjya Dutt was good, no doubt; but he was in no way 'spectacular' as the episode wanted to convey. Moreover, if they wanted to have Sanjay Dutt in that list, then why leave out Sunny Deol (Betaab) and Kumar Gaurav (Love Story), whose films were even bigger hits?
What about Rishi Kapoor? What more can anyone do to make that list??!! Rishi, as a leading actor was the first person to win a Filmfare Best Actor Award for his first movie, he became a HUGE star immediately after Bobby released and had a huge line of producers anxious to meet him right after. The only reason I can think of the show creators not including his name there is if they considered his first movie to be Mera Naam Joker, where he made a wonderful debut as a teenage actor ... but come on!!! That was such a touching and memorable performance as well!
Also, two major actresses became overnight stars with their debut movies - Zeenat Aman (Hare Rama Hare Krishna) and Dimple Kapadia (Bobby). I am SHOCKED that their names were left out. I just don't know what was going in the makers' minds when they were making their list and came towards the '70s decade.
Talking of actresses, Preity's name for Dil Se is surprising, because not only did Preity's role end with the blink of an eye, the film too came and went by without many people knowing. If at all they had to pick Preity, then why leave out Raveena Tandon for Patthar Ke Phool. That film was a hit at the box-office and Raveena was the leading lady, who went on to become a star as well.
And lastly, Shahrukh Khan for Deewana???? You've got to be kidding me! I have no comments to add on this inclusion, however I can something about one's exclusion - Hrithik Roshan for Kaho Na Pyaar Hai!!! He became a craze in the nation after his terrific double role performance in the film, and his rubbery dance moves. How could the show creators / research team forget his name, except if they considered his first movie to be Bhagwaan Dada, or his 'actual' first roles in Aap Ke Deewane or Aasha where he just appeared for a single scene, which would be a real shame.
Again, thankfully this was just a list of leading actors; otherwise if they were to mess up with a list of powerful first performances of character actors, that would be just TOO MUCH!!!
Thursday, October 14, 2010
The Tragic Love Story
Movies have generally been viewed as a source for entertainment for a good couple of hours, with people flocking to the theatres (and now just downloading them) hoping to have a good time; and somehow have a smile on their face at the end. Also, there is a romantic within all of us, so people have always liked love stories that have had a happy ending, which brings that coveted smile. Yet, there are some love stories that have always stayed in people's minds, and are quite often the more appreciated ones - the tragedies!
What makes the love stories with sad endings tick? Quite surely people who come to the movies expecting to leave in a good mood would not want to watch ones that would result in tears!
The secret of the success of tragic love stories has always dumbfounded me, but there are definitely a few reasons why I think such movies work.
For one, these movies are much more closer to reality than some larger-than-life happy-ending ones. Most humans have a history of lost or unfulfilled love. Failed love - yes, in many cases; but not necessarily. There has definitely been someone in almost everyone's lives who they wish they had approached to, spoken with and won that person over. What our real-life experience (or baggage) does is make us see ourselves in those characters in the movie. We feel for them and end the movie experience on a personal note.
For the egoists, there is then that sense of elation that it was their life that was depicted in the movie, albeit in a bit fictional manner.
The sadists would always prefer such sorry endings because this is what would make them feel good.
The tough people remember these movies fondly because it is one of the few times they remember having cried (or sobbed at the least).
While the die-hard romantics definitely connect with the movie, they also tend to talk about it a bit more. The next couple of days are always spent discussing with friends and family about the sad fate of the lovers, and playing God by wishing that had this event taken place, the ending would have different and had that event taken place, the lovers would still be together.
When there are dozens of love stories being made with happy endings, this one odd film obviously stands out as being different. Love stories that end on a good note may not be always right in some cases depending on their storyline, but the filmmakers obviously have to succumb to pleasing the audience at the end, and hence take steep deviations from their screenplay. In some cases, happy endings are hard to imagine because it is a bit weird to see parents or others who had always opposed the lovers and been cruel towards them, just melt down in a minute while at the climax.
It is this whole aura of being different that makes such movies stay in our memories forever, for I am one who certainly feels that had it been the other way round, wherein there was this one odd release with a happy ending amidst scores of tragic love stories, it would be the happy ending love story that would stand out.
MAJOR SPOILERS AHEAD!!!
CANNOT EVEN NAME THE MOVIES THAT I'VE MENTIONED FOR THAT WOULD BE A SPOILER IN ITSELF.
PLEASE READ AHEAD AT YOUR OWN RISK.
There are definitely a lot of learnings one can take from love stories that could not happen. I absolutely feel families of the lovers should forget their egos or social status which they should realize by looking at movies like Ek Duje Ki Liye, Romeo & Juliet, Qayamat Se Qayamat Tak and tons of other movies.
The fact that misunderstandings have no place in families, and that they should never be extended beyond irrepairable condition is well demonstrated in movies like Aap Ki Kasam; which real-life lovers should understand. It's best to be bold and work out problems in the beginning than save them for the end, by when it's too late.
Also, each time I see Gone With The Wind, I keep thinking to myself everytime I see Scarlett O'Hara (Vivien Leigh) treat Rhett Butler (Clark Gable) badly, or take his love for granted - since I now know the ending - that Scarlett, you keep acting like this, and when at the end you will yearn for Rhett, he won't be there, and it's all going to be YOUR fault.
And this is what I felt in that crap Hindi movie - Kya Yehi Pyar Hai (you're not likely to remember this) - as well.
Roman Holiday is one of my all-time favourite movies, and this is definitely a movie that would been well loved even if the ending were otherwise, but there is logic in the ending. Sure the princess (Audrey Hepburn) had the time of her life with the charming journalist (Gregory Peck) - but at the end of the day, she is a princess with responsibilies. I have seen this movie about ten or eleven times in the last four years, but every time I see this movie, I actually feel that this time when Gregory Peck is walking away from the palace and turning back to see if Audrey's there, she is somehow going to appear and in true filmy style throw away her crown and gloves and run towards him in tears, giving up the lifestyle she is so used to, just to be with the man she loves; but this never happens. When I come towards the climax, my brain keeps reminding me they're not going to end up together, but somehow my heart keeps asking me to have hope and that time the ending will definitely be different. I know it may sound ridiculous although this happens to everyone I know as well, but the fact is - THIS is the power of a tragic love story!
However, if a film-maker wants to get good critical acclaim and leave an everlasting memory on the audience, it is still safer to make a beautiful love story with a happy ending, because if you're going to make a tragic love story - you just HAVE to get each and every element perfect! You screw up even for a minute and the ending is going to lose it's charm. When you make a love story with a sad ending, you'd better make sure everything leads up to the audience going out in tears rather than leave cursing you for the horrible ending.
This is a genre that is very hard to make, but once you have done it right, you've made a significant contribution towards cinema.
What makes the love stories with sad endings tick? Quite surely people who come to the movies expecting to leave in a good mood would not want to watch ones that would result in tears!
The secret of the success of tragic love stories has always dumbfounded me, but there are definitely a few reasons why I think such movies work.
For one, these movies are much more closer to reality than some larger-than-life happy-ending ones. Most humans have a history of lost or unfulfilled love. Failed love - yes, in many cases; but not necessarily. There has definitely been someone in almost everyone's lives who they wish they had approached to, spoken with and won that person over. What our real-life experience (or baggage) does is make us see ourselves in those characters in the movie. We feel for them and end the movie experience on a personal note.
For the egoists, there is then that sense of elation that it was their life that was depicted in the movie, albeit in a bit fictional manner.
The sadists would always prefer such sorry endings because this is what would make them feel good.
The tough people remember these movies fondly because it is one of the few times they remember having cried (or sobbed at the least).
While the die-hard romantics definitely connect with the movie, they also tend to talk about it a bit more. The next couple of days are always spent discussing with friends and family about the sad fate of the lovers, and playing God by wishing that had this event taken place, the ending would have different and had that event taken place, the lovers would still be together.
When there are dozens of love stories being made with happy endings, this one odd film obviously stands out as being different. Love stories that end on a good note may not be always right in some cases depending on their storyline, but the filmmakers obviously have to succumb to pleasing the audience at the end, and hence take steep deviations from their screenplay. In some cases, happy endings are hard to imagine because it is a bit weird to see parents or others who had always opposed the lovers and been cruel towards them, just melt down in a minute while at the climax.
It is this whole aura of being different that makes such movies stay in our memories forever, for I am one who certainly feels that had it been the other way round, wherein there was this one odd release with a happy ending amidst scores of tragic love stories, it would be the happy ending love story that would stand out.
MAJOR SPOILERS AHEAD!!!
CANNOT EVEN NAME THE MOVIES THAT I'VE MENTIONED FOR THAT WOULD BE A SPOILER IN ITSELF.
PLEASE READ AHEAD AT YOUR OWN RISK.
There are definitely a lot of learnings one can take from love stories that could not happen. I absolutely feel families of the lovers should forget their egos or social status which they should realize by looking at movies like Ek Duje Ki Liye, Romeo & Juliet, Qayamat Se Qayamat Tak and tons of other movies.
The fact that misunderstandings have no place in families, and that they should never be extended beyond irrepairable condition is well demonstrated in movies like Aap Ki Kasam; which real-life lovers should understand. It's best to be bold and work out problems in the beginning than save them for the end, by when it's too late.
Also, each time I see Gone With The Wind, I keep thinking to myself everytime I see Scarlett O'Hara (Vivien Leigh) treat Rhett Butler (Clark Gable) badly, or take his love for granted - since I now know the ending - that Scarlett, you keep acting like this, and when at the end you will yearn for Rhett, he won't be there, and it's all going to be YOUR fault.
And this is what I felt in that crap Hindi movie - Kya Yehi Pyar Hai (you're not likely to remember this) - as well.
Roman Holiday is one of my all-time favourite movies, and this is definitely a movie that would been well loved even if the ending were otherwise, but there is logic in the ending. Sure the princess (Audrey Hepburn) had the time of her life with the charming journalist (Gregory Peck) - but at the end of the day, she is a princess with responsibilies. I have seen this movie about ten or eleven times in the last four years, but every time I see this movie, I actually feel that this time when Gregory Peck is walking away from the palace and turning back to see if Audrey's there, she is somehow going to appear and in true filmy style throw away her crown and gloves and run towards him in tears, giving up the lifestyle she is so used to, just to be with the man she loves; but this never happens. When I come towards the climax, my brain keeps reminding me they're not going to end up together, but somehow my heart keeps asking me to have hope and that time the ending will definitely be different. I know it may sound ridiculous although this happens to everyone I know as well, but the fact is - THIS is the power of a tragic love story!
However, if a film-maker wants to get good critical acclaim and leave an everlasting memory on the audience, it is still safer to make a beautiful love story with a happy ending, because if you're going to make a tragic love story - you just HAVE to get each and every element perfect! You screw up even for a minute and the ending is going to lose it's charm. When you make a love story with a sad ending, you'd better make sure everything leads up to the audience going out in tears rather than leave cursing you for the horrible ending.
This is a genre that is very hard to make, but once you have done it right, you've made a significant contribution towards cinema.
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